The following courses are being held in the Granoff Center during the Fall 2017 semester:
Activist Body (Sarah Wilbur, Theatre Arts and Performance Studies 1485)
The current explosion of activist activity on and beyond college campuses has been called a “movement moment” (McCarthy, 2017), signaling an urgent need to address what it means to be a politically responsive body in the world today. This course examines activism as a topic and performance practice rooted in the body’s capacity to disrupt the political status quo. Building from the growing literature on protest and social movement in dance and performance studies, students will theorize activism and agentic embodiment, analyze cultural events that claim activist intentions, and body forth activist strategies and manifestos in weekly movement sessions.
Advanced Screenwriting (Laura Colella, Literary Arts 1010E)
The writing of short screenplays or a longer work in progress in regular installments, along with a body of exercises, workshop conversations and conferences.
Artists & Scientists as Partners (Julie Strandberg, Theatre Arts and Performance Studies 1281W)
This course focuses on current research on and practices in arts and healing, with an emphasis on dance and music for persons with Parkinson's Disease (PD) and Autism (ASD). Includes guest lecturers, readings, field trips, and site placements
Communicating Science: Animating Science (John Stein, Bilogy 0140C)
Taught by RISD/Brown professors with the Science Center and Creative Mind Initiative, this course explores the pedagogy of using visual media to convey scientific concepts. The goal is to assess the quality of existing material and design new material that fills an educational need and makes science engaging and accessible. Lectures, labs, discussions, critiques and speakers. Teams collaborate on a series of short exercises leading to the creation of videos/animations explaining scientific concepts.
Computers & Music (Todd Winkler, Music 0200)
This course examines the history, literature, production and theory of music technology. It tracks the development of musical inventions and their impact on musical thought, production and culture. Participants will develop theoretical and practical knowledge of computer music based on first-hand experience in the Multimedia Lab, using computer music software and hardware to complete creative assignments. Students will gain an appreciation for the pioneering work done in previous decades, both in research and composition. They will also become familiar with the literature of electronic music and learn about the impact of technology on popular and experimental genres.
Digital Media (Hannah Goodwin, Modern Culture and Media 0230)
This course introduces students to the critical study of digital media. From sampling to simulation, technological anxiety to fully-automated luxury, surveillance to social media, and cyberpunk to cyberwar, we will analyze the aesthetics, politics, protocols, history, and theory of digital media as it intersects with various fields of knowledge and practice. Special attention will be paid to its impact on socio-cultural formations and its compromising of boundaries between the public and private, self and other, utopia and dystopia, and work and leisure, as well as to the interplay between technological and historical developments in the 1960s, 1990s and the present.
Digital Media/Ecological Crisis (Thomas Pringle, Modern Culture and Media 0902C)
In a time characterized by anthropogenic climate change, militaries forecast climate refugees, scientific communities broadcast the end of ‘nature’ while politicians engineer influence in a media ecosystem. What are the politics of how media represents science, the environment and ecological crisis? This course considers the historical emergence of digital media alongside ecology. By studying the exchange between scientific knowledge, digital technology and the communication of environmental crises at local and global scales, we will attempt to establish an interpretive framework for the matrix of politics, power, inequality and violence that accompanies the historical and temporal conditions consistent with climate change.
Exploration in Video Art (Ed Osborn, Visual Art 1730)
This studio course provides an overview of contemporary video art and video installation practices, facilitates the development of video work in expanded space, and encourages a critical approach to interactive moving image practice. Students will develop a set of video installation pieces for particular spaces and situations beyond the standard single-screen video format. Basic video production and post-production techniques will be covered and complimented by readings and screenings.
Multimedia Nonfiction (Michael Stewart, English 1050J)
Through a series of short assignments, we will learn what audio, visual, and performative tools are available to us and how these different mediums can affect our stories. The course culminates in a final project where students will pursue a long-form story of their choice of subject and medium.
Real Time Systems (Butch Rovan, Music 1210)
Seminar in Electronic Music is a study of music employing electronic media, including real-time digital signal processing, multimedia, and live performance. Technical aspects of the course focus on programming using Max/MSP to create interactive projects and algorithmic compositions.
Sound Design (Jim Moses, Music 1250)
This production seminar is a study of techniques and aesthetics used to create sonic environments and effects that enhance a variety of media including video, radio and audio art, new media, theater, and installation art. Technical topics include audio production in multi-channel formats, advanced audio editing, mixing and synthesis techniques, and audio system design.
Stage Lighting (Tim Hett, Theatre Arts and Performance Studies 0260)
This course is an introduction to stage lighting.
13 Positions (Ralph Lemon, Theatre Arts and Performance Studies 1415)
A lab exploring the physical, aesthetic and performative relationship of the body to a student's cultural cosmology. The course will also look at certain (so-called) traditional aspects to successful forms (a performance, a dance, a film-video, a piece of writing, a painting, sculpture…) and then attempt to break down and reframe this tradition with a discipline (rigor) that evokes accidents and the inexplicable. A lab that examines how the creative process is thought about, considered and looked upon, watched, inside and out. A fresh outlook, (shared) labor and or proposition on how to construct/deconstruct the right/wrong/right art work.
Writing 3D (John Cayley, Literary Arts 1010G)
An advanced experimental workshop for writing in immersive 3D, introducing text, sound, spatial poetics, and narrative movement into Brown's Legacy Cave (now house in the Granoff Center for the Creative Arts) with links to the YURT (Yurt Ultimate Reality Theater in the Center for Computation and Visualization). An easy-to-learn and easy-to-use application allows non-programmers to create projects on laptops and then to run them in immersive 3D audiovisuality without the necessity for specialist support. Broadly interdisciplinary, the course encourages collaboration between students with different skills in different media, who work together to discover a literary aesthetic in artificially rendered space.